just found this one hanging around on my laptop. I made it in 2021 just for fun to see if I could make something that might pass as an actual Old Tunes track.
I always loved that weirdly niche part of the Boards of Canada fan community, the endless scavenger hunt for unreleased material and people occasionally posting their own tracks as little red herrings.
Thank god for boc pages where everything is neatly stacked and easy to find. Instead of listening to Prophecy at 1420 MHz on repeat, I figured I’d go through their back catalog while also reading all the interviews they’ve done.
It’s actually made me even more hyped and appreciative of their work. Getting back into their mindset, admiring the sheer attention to detail in the music, and picking up on interesting observations from their interviews really deepens the experience. It’s also kind of reassuring how normal they seem (and I mean that in a good way- especially because I recently had this fear of them turning out to be some pro-Trump, anti-vax conspiracy types).
Anyway, it’s a great excuse to revisit their discography. They’ve created such a rich world that really invites you to think more deeply and drift into thoughts about meaning of life, questioning if what we see is what is actually out there.
What do you think? I'm attending one in Copenhagen, but I'm not sure thats how I want to experience the album for the first time
2026 is wild! a new BoC record AND cleaner audio versions of the old stuff - that's perfect, can't wait to here whitewater in better quality
So yesterday I was thinking about the Societas X Tape and something Mike and Marcus have said in the past about how they explore a wide range of musical ideas while still trying to maintain a recognizable "brand” or cohesive sound, even as they evolve.
That got me wondering: what if the Societas X Tape actually functioned as a kind of bridge toward a new direction on Inferno? Almost like a transitional EP that quietly hints at where things are headed next.
If that’s the case, I wouldn’t be surprised if the next record feels quite different, maybe even unexpectedly so. Not necessarily in a literal metal direction, but perhaps something more abrasive or textured than what we usually associate with Boards of Canada: elements that could feel grittier, maybe even leaning into shoegaze, less electronic and more rock.
Curious if anyone else has had similar thoughts about it being a deliberate transition piece rather than just a standalone release?
I own a psp and I had the battery changed but it never holds a charge - what's wrong?
https://youtu.be/I9WZktxSbO4?is=Tc\_5G0jJEkaxE0Wv
I recently released my debut album Aperture under the name A Tree For My Bed, and I wanted to share a bit about the process behind it while also opening up a broader, more earnest discussion about the music landscape. Releasing it has been both a relief and exciting, but at times also a struggle. It can feel like everything is pushing toward speed, visibility, and constant output to feed algorithms, and I’ve been thinking a lot about how to place something slow and long-developed into that system.
Aperture is built from a personal archive of sound and image that I’ve been recording and collecting for more than 20 years. It includes DV and Hi8 tapes, cassettes, VHS, field recordings, and small musical sketches. When making the album, I imagined it taking place inside a metaphysical “camera house” (in Danish we say camera house rather than camera body). I picture it as a dark, liminal interior with a small opening to the outside world. It became a space shaped by themes of time and grief, but also new beginnings and alternative paths.
Alongside the music, I’ve been creating music videos in parallel as part of the same process. The video for Image Plane, for example, was filmed over three summers in the same forest, always during golden hour. The footage is layered so that different moments in time overlap, forming a kind of ghost forest.
The album cover follows the same collage-based approach, built from over 100 stills taken from my home videos, where I removed everything except the color green.
I wanted the album to be something you can put on at any time in the background, but also something that feels rewarding to return to and step into more deeply the closer you listen.
The work is definitely influenced by artists like Boards of Canada, early Autechre, Yasuaki Shimizu, Basinski, My Bloody Valentine, and Cocteau Twins.
I’d love to hear your thoughts, both on the music and on how you approach sharing slower, time-based work in a landscape that often rewards the opposite.